All filmmakers face a universal set of challenges when it come to making films.  Filmmakers must develop a compelling and marketable story; obtain adequate financing for all phases of the production; schedule sufficient time for pre-production, production, and post-production; garner the technical and performing talent needed to bring a story to life; and develop interest among targeted audiences and deliver the finished product to them.  Now, add to those universal challenges the distinction of being an African American, who is attempting to produce films about African Americans for African American audiences.  The combination of being a filmmaker and an African American creates an interesting set of challenges.  

Fortunately, it's a challenge that many black filmmakers have successfully undertaken, including the five who recently gathered in the darkened confines of a theater within the Gene Siskel Film Center.  They were there to discuss the realities and challenges of creating black films. With great confidence, honed through experience, the five filmmakers shot down any notion that black cinema is dead. 

What is needed, they argued, to make successful black films is a reality check, community support, perseverance, and talent.   Melvin James, the director of Honeybee, was adamant about the need for a reality check.  He told an audience made up mostly of aspiring filmmakers that there were no fixed formulas for success, and no such thing as overnight success.  Hakeem Smith added that there are two kinds of filmmakers, those who make films to make money, and those who make films to tell stories with pictures.  Smith said that those who make films to tell stories are not necessarily concerned with achieving big box office success.  He then addressed those driven by the commercial side of filmmaking.  Smith advised them to think about all the ways marketing and distribution elements could be incorporated into a film.

Kirby Ashley, the director of Faithless, a film featured in the festival, said he thinks about distribution during pre-production. His comment led to a discussion among the panelist about when is the best time to incorporate product placements.  Several panelists, including Amber Washington, the only woman on the panel, urged the audience to think about product placements during the scriptwriting phase.  Washington, along with Phil James, produced the film One Week, which is scheduled to open in theaters on October 5th. 

Raymond Thomas, the director of 12 Minutes, another film shown during the festival, spoke about the need to develop community support for independent black films.  Thomas sees a need to enlighten the black community about films and fine art.  He stated that it is the responsibility of artists to help increase awareness about culture throughout the community.

Thomas' remarks led to a spirited debate among the panelist about community support for films that aren't necessarily good.  Hakeem Smith, an independent filmmaker, insisted that such support is necessary.  Melvin James added that in order for black filmmakers to improve their skills and abilities, they must have support from the community.  The bottom line, according to James, is that filmmaking is a process.  "No one is going to come out of the box making Titanic." declared James.

An audience member questioned whether real progress was being made in black cinema, since the panelists' comments were similar to those that had been expressed at previous festivals.  Washington responded by informing the audience that two black film distribution companies had been formed in the last year, and both distribute black films.  Washington urged the filmmaking community to continue to press black entrepreneurs to fill the need for more black distribution companies.

All of the panelists agreed that persistence is needed in order for individuals to succeed as storytellers and filmmakers.  Thomas and Ashley spoke about the importance of developing the craft, and the need to pursue excellence in all phases of filmmaking.  Smith concluded by saying that it takes perseverance and talent to make it in the film business, or any business.  He stressed perseverance over talent.  "If you quit, no one will ever know you had talent." said Smith.  

The panel discussion concluded with the debut of a new film, written, produced and directed, by Bradley Hakeem Smith. The film, entitled Restore, provided a thoughtful ending to an afternoon filled with spirited exchanges of ideas, suggestions and opportunities for elevating black cinema. 

Restore is a short film about a young man named Donovan Taylor, who is challenged to do the right thing, for himself and for the community.  The only problem is: Donovan is facing serious economic hardships - the brother needs a job.   Donovan receives a visit from his deceased high school basketball coach who comes to ask a favor. Despite Donovan's initial doubts, the visitation proves rewarding.

The panel discussion, along with the films shown during the 7th-edition of the Black Harvest festival, are proof that black cinema is alive and well; thanks, in no small part, to the commitment and talents of individuals such as Bradley Hakeem Smith, Amber Washington, Melvin James, Raymond A. Thomas, and Kirby Ashley.  These five young artists are part of a growing community of filmmakers that is helping to push black cinema into new frontiers.

The End